Ábris Gryllus
Canon
Boomkat Product Review:
Searing footwork/computer music + cut-up vocal mutations from Hungary’s Ábris Gryllus, arriving in a vital vein of The Death of Rave releases shared by Mark Fell & Gábor Lázár, Rian Treanor and The Automatics Group.
Charting new temporalities and ambiguities of the uncanny valley, ‘Canon’ is a remarkable volley of twelve body-flinging and mind-spanking workouts by Budapest, Hungary’s Ábris Gryllus. It’s his 3rd and boldest solo album under his own name, and pushes the boundaries of Chicago footwork and electronic vocal processing to discover ravishing and maddening new sensations at the periphery of club music, contemporary dance, and the avant garde.
Working with vocals by Jessica Smit, who also appears on the cover art, Ábris ambiguously blurs their meaning by ways of repetition and recursive flux, but rudely held together by pointillist footwork rhythms and scything synths. The effect is borderline absurd and genius, implicitly exploring the contemporary semantics of rave as a form of dream-state, temporary madness, or hyperreality, with explicitly direct, physical use of recoiling footwork rhythms and disorienting, strobing vocals that may well send some listeners over the edge..
Track to track, simple phrases become mashed up, Beckettian or dadaist; syllables slipping words into opposites, so that “intimate” refracts into “intimidate” and “imitate”, or the club warcry “let’s Go” becomes “let me go,” and instructions to “focus!” or “obey!” are reiterated into oblivion. The results are a polymetric, psychotomimetic, and picnoleptic feast for insatiable ravers; conceptually resonating with Mark Fell’s exploration of multi-temporality, but with Rian Treanor’s playfulness and Gábor Lázár’s slashing contours, while also recalling the hardcoreness of Jana Rush’s footwork chops, a smudged answer to CoH’s precision, or recent Vladislav Delay maelstroms, as well as that larghely iverlooked run of releases from Anne-James Chaton for raster - some of the label’s best.
‘Canon’ is frankly a mad bit of work; one of the most hyperalert yet disorienting, densely minimalist, and freakishly dynamic explorations of human-nonhuman dialogue and experimental dance music of 2021.
View more
Boomkat Product Review:
Searing footwork/computer music + cut-up vocal mutations from Hungary’s Ábris Gryllus, arriving in a vital vein of The Death of Rave releases shared by Mark Fell & Gábor Lázár, Rian Treanor and The Automatics Group.
Charting new temporalities and ambiguities of the uncanny valley, ‘Canon’ is a remarkable volley of twelve body-flinging and mind-spanking workouts by Budapest, Hungary’s Ábris Gryllus. It’s his 3rd and boldest solo album under his own name, and pushes the boundaries of Chicago footwork and electronic vocal processing to discover ravishing and maddening new sensations at the periphery of club music, contemporary dance, and the avant garde.
Working with vocals by Jessica Smit, who also appears on the cover art, Ábris ambiguously blurs their meaning by ways of repetition and recursive flux, but rudely held together by pointillist footwork rhythms and scything synths. The effect is borderline absurd and genius, implicitly exploring the contemporary semantics of rave as a form of dream-state, temporary madness, or hyperreality, with explicitly direct, physical use of recoiling footwork rhythms and disorienting, strobing vocals that may well send some listeners over the edge..
Track to track, simple phrases become mashed up, Beckettian or dadaist; syllables slipping words into opposites, so that “intimate” refracts into “intimidate” and “imitate”, or the club warcry “let’s Go” becomes “let me go,” and instructions to “focus!” or “obey!” are reiterated into oblivion. The results are a polymetric, psychotomimetic, and picnoleptic feast for insatiable ravers; conceptually resonating with Mark Fell’s exploration of multi-temporality, but with Rian Treanor’s playfulness and Gábor Lázár’s slashing contours, while also recalling the hardcoreness of Jana Rush’s footwork chops, a smudged answer to CoH’s precision, or recent Vladislav Delay maelstroms, as well as that larghely iverlooked run of releases from Anne-James Chaton for raster - some of the label’s best.
‘Canon’ is frankly a mad bit of work; one of the most hyperalert yet disorienting, densely minimalist, and freakishly dynamic explorations of human-nonhuman dialogue and experimental dance music of 2021.
Boomkat Product Review:
Searing footwork/computer music + cut-up vocal mutations from Hungary’s Ábris Gryllus, arriving in a vital vein of The Death of Rave releases shared by Mark Fell & Gábor Lázár, Rian Treanor and The Automatics Group.
Charting new temporalities and ambiguities of the uncanny valley, ‘Canon’ is a remarkable volley of twelve body-flinging and mind-spanking workouts by Budapest, Hungary’s Ábris Gryllus. It’s his 3rd and boldest solo album under his own name, and pushes the boundaries of Chicago footwork and electronic vocal processing to discover ravishing and maddening new sensations at the periphery of club music, contemporary dance, and the avant garde.
Working with vocals by Jessica Smit, who also appears on the cover art, Ábris ambiguously blurs their meaning by ways of repetition and recursive flux, but rudely held together by pointillist footwork rhythms and scything synths. The effect is borderline absurd and genius, implicitly exploring the contemporary semantics of rave as a form of dream-state, temporary madness, or hyperreality, with explicitly direct, physical use of recoiling footwork rhythms and disorienting, strobing vocals that may well send some listeners over the edge..
Track to track, simple phrases become mashed up, Beckettian or dadaist; syllables slipping words into opposites, so that “intimate” refracts into “intimidate” and “imitate”, or the club warcry “let’s Go” becomes “let me go,” and instructions to “focus!” or “obey!” are reiterated into oblivion. The results are a polymetric, psychotomimetic, and picnoleptic feast for insatiable ravers; conceptually resonating with Mark Fell’s exploration of multi-temporality, but with Rian Treanor’s playfulness and Gábor Lázár’s slashing contours, while also recalling the hardcoreness of Jana Rush’s footwork chops, a smudged answer to CoH’s precision, or recent Vladislav Delay maelstroms, as well as that larghely iverlooked run of releases from Anne-James Chaton for raster - some of the label’s best.
‘Canon’ is frankly a mad bit of work; one of the most hyperalert yet disorienting, densely minimalist, and freakishly dynamic explorations of human-nonhuman dialogue and experimental dance music of 2021.
Boomkat Product Review:
Searing footwork/computer music + cut-up vocal mutations from Hungary’s Ábris Gryllus, arriving in a vital vein of The Death of Rave releases shared by Mark Fell & Gábor Lázár, Rian Treanor and The Automatics Group.
Charting new temporalities and ambiguities of the uncanny valley, ‘Canon’ is a remarkable volley of twelve body-flinging and mind-spanking workouts by Budapest, Hungary’s Ábris Gryllus. It’s his 3rd and boldest solo album under his own name, and pushes the boundaries of Chicago footwork and electronic vocal processing to discover ravishing and maddening new sensations at the periphery of club music, contemporary dance, and the avant garde.
Working with vocals by Jessica Smit, who also appears on the cover art, Ábris ambiguously blurs their meaning by ways of repetition and recursive flux, but rudely held together by pointillist footwork rhythms and scything synths. The effect is borderline absurd and genius, implicitly exploring the contemporary semantics of rave as a form of dream-state, temporary madness, or hyperreality, with explicitly direct, physical use of recoiling footwork rhythms and disorienting, strobing vocals that may well send some listeners over the edge..
Track to track, simple phrases become mashed up, Beckettian or dadaist; syllables slipping words into opposites, so that “intimate” refracts into “intimidate” and “imitate”, or the club warcry “let’s Go” becomes “let me go,” and instructions to “focus!” or “obey!” are reiterated into oblivion. The results are a polymetric, psychotomimetic, and picnoleptic feast for insatiable ravers; conceptually resonating with Mark Fell’s exploration of multi-temporality, but with Rian Treanor’s playfulness and Gábor Lázár’s slashing contours, while also recalling the hardcoreness of Jana Rush’s footwork chops, a smudged answer to CoH’s precision, or recent Vladislav Delay maelstroms, as well as that larghely iverlooked run of releases from Anne-James Chaton for raster - some of the label’s best.
‘Canon’ is frankly a mad bit of work; one of the most hyperalert yet disorienting, densely minimalist, and freakishly dynamic explorations of human-nonhuman dialogue and experimental dance music of 2021.
In Stock (Ready To Ship)
Back in stock. Edition of 110 tapes, pressed on metallic and silver tapes (selected at random) including an acetate cover overlay. Also includes a download of the release dropped to your account.
Boomkat Product Review:
Searing footwork/computer music + cut-up vocal mutations from Hungary’s Ábris Gryllus, arriving in a vital vein of The Death of Rave releases shared by Mark Fell & Gábor Lázár, Rian Treanor and The Automatics Group.
Charting new temporalities and ambiguities of the uncanny valley, ‘Canon’ is a remarkable volley of twelve body-flinging and mind-spanking workouts by Budapest, Hungary’s Ábris Gryllus. It’s his 3rd and boldest solo album under his own name, and pushes the boundaries of Chicago footwork and electronic vocal processing to discover ravishing and maddening new sensations at the periphery of club music, contemporary dance, and the avant garde.
Working with vocals by Jessica Smit, who also appears on the cover art, Ábris ambiguously blurs their meaning by ways of repetition and recursive flux, but rudely held together by pointillist footwork rhythms and scything synths. The effect is borderline absurd and genius, implicitly exploring the contemporary semantics of rave as a form of dream-state, temporary madness, or hyperreality, with explicitly direct, physical use of recoiling footwork rhythms and disorienting, strobing vocals that may well send some listeners over the edge..
Track to track, simple phrases become mashed up, Beckettian or dadaist; syllables slipping words into opposites, so that “intimate” refracts into “intimidate” and “imitate”, or the club warcry “let’s Go” becomes “let me go,” and instructions to “focus!” or “obey!” are reiterated into oblivion. The results are a polymetric, psychotomimetic, and picnoleptic feast for insatiable ravers; conceptually resonating with Mark Fell’s exploration of multi-temporality, but with Rian Treanor’s playfulness and Gábor Lázár’s slashing contours, while also recalling the hardcoreness of Jana Rush’s footwork chops, a smudged answer to CoH’s precision, or recent Vladislav Delay maelstroms, as well as that larghely iverlooked run of releases from Anne-James Chaton for raster - some of the label’s best.
‘Canon’ is frankly a mad bit of work; one of the most hyperalert yet disorienting, densely minimalist, and freakishly dynamic explorations of human-nonhuman dialogue and experimental dance music of 2021.
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